Belarusian national theater: the search for national identity
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2021-10-29 00:01
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792(476) (2)
Teatru. Artă scenică. Reprezentații teatrale (521)
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MOSKWIN, Andriej. Belarusian national theater: the search for national identity. In: Patrimoniul cultural: cercetare, valorificare, promovare, Ed. 12, 28-29 mai 2020, Chișinău. Chișinău: Institutul Patrimoniului Cultural, 2020, Ediția 12, p. 56. ISBN 978-9975-84-123-8. DOI: https://doi.org/10.6084/m9.figshare.12356333
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Patrimoniul cultural: cercetare, valorificare, promovare
Ediția 12, 2020
Conferința "Patrimoniul cultural: cercetare, valorificare, promovare"
12, Chișinău, Moldova, 28-29 mai 2020

Belarusian national theater: the search for national identity

DOI: https://doi.org/10.6084/m9.figshare.12356333
CZU: 792(476)

Pag. 56-56

Moskwin Andriej
 
Warsaw University
 
Disponibil în IBN: 13 iulie 2020


Rezumat

The Janka Kupała Belarusian National Theater occupies an important place on the theatrical map of Belarus. On December 26, 1991, Belarus was granted independence as a result of the collapse of the USSR. The new Belarusian state began to shape its own policy in various areas of social life, including culture. Censorship has disappeared, and theaters have been given considerable freedom in choosing their repertoire, specifying the number of premieres during the year and the dates of performance. The Ministry of Culture began to financially support projects aimed at staging Belarusian dramaturgy. Independent theater groups were formed. In the process of shaping a new cultural policy, the Janka Kupała National Academic Theater was given the opportunity to play one of the leading roles. In 1991, Walery Rajeuski becomes the leader and begins to set the group’s repertoire policy. He held this post for eighteen years - until January 2009. From February 2009, the director of the theater is Mikałaj Pinihin. Each of these artists had different views on the development of the theater. W. Rajeuski emphasized the myth of Belarus and of the past. It is worth remembering that the political situation was positive for this process. Pinihina was aware that after the collapse of the USSR, the time had come to focus on identity issues, on relations with neighbors and on the place of Belarus in the region, as well as on the rich cultural heritage of previous eras, including the Grand Duchy of Lithuania. Later, Belarus would finally find its own place on the cultural map of Europe. That is why M. Pinihina, as artistic director, was less interested in native historical dramaturgy, which at the turn of the 20th and 21st centuries created a myth about the history of Belarus and its heroes. Now, in the second decade of the 21st century, the time has come to give up mythology and focus on the real facts and problems of the past. Myth could be a document in various forms - a literary work about the world-famous Romantic era („Pan Tadeusz” A. Mickiewicz), an authentic theater of the Baroque era from the mid-eighteenth century („Kidnapping Europe” by F. U. Radziwiłł), a phenomenon of popular culture from the 20-30 years of the 20th century („Miasteczkowy kabaret”) or East Slavic folklore in various forms (dances, songs, rituals, magic - Gogol’s „Christmas Eve”). Each of these four elements is important and aims at reminding us of a rich legacy. What theater does, shows us that it has not been lost, it is still alive and requires observation, investigation and use.